Sword Forum International | swordforum.com

Navigate

Home

Previous Menu

CONSERVING ANTIQUE SWORDS
by Mark McMorrow
June 17, 2001 · Revised July 18, 2001 · Article spans 1 page

As with all arts and antiques, a vast difference exists between sword conservation and sword restoration. Restoration is the method by which an article is repaired, mended or refitted to resemble its state when new. In the sword world this would include recovering grips, blade polishing and refitting guard parts. As a very general rule of thumb, if a sword has to be disassembled for the fix, it should be considered a restoration. Anything else leaves us in the realm of conservation. This short treatise is intended to serve merely as a guideline. Each conservation project will be unique and every situation you will encounter during the work will merit careful evaluation. It is always a good idea to seek professional, specialist guidance prior to beginning work.

Conservation is the effort applied to the article whereby it is preserved & maintained in its present antique state in addition to the application of techniques that are intended to arrest degradation, remove harmful components and inhibit them from re-establishing.

It may not always be physically or economically possible or even proper to restore a sword, but it is always possible to conserve a sword. Conservation is the least obtrusive intervention method and for reasons of maintaining historical continuity the most widely recommended.

During a sword’s lifetime, it will encounter forces that will ultimately affect the condition in which one finds it. Exposure to the elements, the environment in which it has been stored in, abuse and neglect will determine how much work you are in for. It is important to remember that the objective is to preserve the piece in its antique state, not make it new again. Patination, or the mellow toning metals acquire over the years, is an important characteristic and should not be removed or altered. (Note: this is a problem when cleaning, as in almost all cases some patination will be removed through the cleaning process). In addition, try to identify the sword or swords you intend to conserve. The chances of finding a historically significant sword are remote, but it is certainly not outside of the realm of possibility. For this reason, it is important to learn about what you have before attempting anything that may have a destructive result.

BLADE TREATMENTS

Sword blades are found ranging over a wide spectrum of quality and decorative enhancement. In order to have an understanding of what it is you are looking at, let’s look at some of the most commonly encountered blade treatments, some of which date far back into antiquity.

Bluing - A chemical treatment developed as a rust inhibitor. Modern chemical bluing is a relatively modern process dating from the mid-19th century. Prior to that time, all bluing was done via heat. This type of bluing is very easily removed, and should only be cleaned by a qualified professional). Browning is achieved by a similar process (in the old days, it was actually achieved by an intentional rusting).

Plating - Plating is the application of a thin plate or coating of metal to another surface. It is done either as a protective measure or to enhance the surface’s esthetic appearance. Molten dips, chemical and electrolytic are a few examples of plating processes. Nickel, tin, silver and gold are the common media of plating you may expect to encounter. Regardless of the process and type of plating, it will not be more than a few microns thick so the utmost caution should be exercised when dealing with it. Plating is found on blades and guards.
Engraving - Engraving is the mechanical process of removing metal in a pattern or design. It is accomplished by using sharp cutters called burins and a wide variety of motifs and patterns are encountered. Engraving is sometimes found with inlayed material such as gold or silver applied in the recesses (see inlay and niello).

Inlay - Inlay is the process of ornamenting a surface by setting into it material of different substance or contrasting color, usually in such a manner as to maintain a continuous plane. It is a fairly uncommon Western blade treatment, though common to Islamic and Indo-Persian arms. Softer-than-steel metals (copper, brass, silver and gold) are those most commonly used. Also found is a special inlay preparation called niello. In this process a metallic alloy of sulfur, copper, silver, and usually lead are used as an inlay on engraved metal. The metal surface is brushed with a borax flux solution and dusted with powdered niello. The entire surface is then heated. As it is heated, the niello blackens. After cooling, the surface is then polished and the blackened niello pattern remains in the incised lines. Inlay is found on blades and guards.
Acid Etching - Acid etching is the process whereby an acid-resistant wax coating is applied and the desired design motif is applied and scribed through the coating. An acid preparation is applied to the surface of the blade. The blade area where the wax is untouched is protected from the acid. At the same time the acid settles in the scribed design areas, which offers no protection against the chemical action of the acid. After sufficient time passes, the acid is neutralized and the remaining wax removed. The resulting designs are prominent. The opposite of this process is called acid-resist, which is applying the desired pattern in wax and allowing the background areas to be exposed to the acid.

BLADE PROBLEMS

Antique swords are evaluated primarily on blade condition and there are many things that can impact a blade over time. Rust is the cardinal bane of all swords. It is a natural process and it is observed occurring in two basic stages, active and inactive. In the first stage, rust begins to form on the surface of the steel when exposed to air and moisture. This is the active stage and the rust appears red or reddish brown and will leave a reddish residue on whatever it comes in contact with (hands, clothing, etc.). Consisting chiefly of ferric hydroxide and ferric oxide formed by oxidation (the reaction in which oxygen combines with another element), rust is essentially a chemical compound (hydrated ferric oxide Fe₂O₃·nH₂O). Once active rust establishes itself, degradation and material attrition will occur at a rate consistent with the ambient environment. If left unchecked it will eventually erode the steel, meaning that an actual loss of physical mass will result. The degree of affect can range from light "salt & pepper" pitting to complete surface encrustation. In the case of the latter, the once uniform geometry of the blade will become irregular and unattractive. Eventually, the active rust will progress to the second or inactive stage and it is at this time that degradation will cease. Inactive rust appears very dark brown to black. Forge de-lamination should not be mistaken for the affects of rust or damage, though de-lamination may become pronounced as a result of an impact that normally would not have produced the flaw in a congruous forging. De-laminations appear as fissure-like cracks and can be attributed to inconsistencies in the forging process or structural defects that may not have been visible when new, but through the passage of time have become apparent as the weakened molecular elements migrate to dislocation points. It’s interesting to note that, unlike Japanese sword collectors, many students of Western swords regard forge de-lamination as a characteristic rather than a flaw. It is normally seen as the hallmark of an old blade and it often adds to the character of a sword.

Battle damage is also encountered, but should not be confused with abuse. No set rules exist for measuring what is and what is not battle damage. One has to acquire a feel for it through years of hands on observation of old swords. However, a few simple common sense points can be applied. As an example, a fair percentage of what we encounter today in the form of edge damage can be attributed to abuse. It is identifiable as an inordinate number of edge-to-edge contact nicks. One or two edge nicks, especially those that have acquired patination that matches the rest of the blade surface, may be written off to period battle damage. A large number of nicks, especially those that appear to have been caused by the same opposing blade, can safely be labeled abuse. Bent blades also frequently encountered. Although it’s reasonable to assume the blade could have been bent in the heat of battle, odds are it was bent as a result of mistreatment. Also under this heading are post-period sharpening attempts, amateur polishing efforts, chemical exposure, and file, grind, sand paper and power tool marring.

BLADE CONSERVATION TIPS

All of the blade treatments described above should be approached with a maximum of caution and a minimum of force. Over zealousness can result in irreparable damage.

Before beginning work on the sword, it should be secured to your work surface. This will provide stability during work while allowing you to maintain the use of two hands. A wooden vise is the best choice for this type of work but other table clamps or bench vices will be fine. If you intend to use a standard vise, some modification of the retaining jaws on the clamp or vice will be necessary in order to avoid marring any surfaces. Glue ½-inch thick strips of leather in place on the jaw’s gripping surfaces. Lead strips of ¼-inch thickness may also be used, but leather works just as well and will likely be more readily available. Another option would be to use alligator clips (with rubber-padded jaws) to secure the blade to your work surface. Also remember to cover your work surface with several layers of newspaper. This will further protect the sword and keep the bench area clean. Once the sword is secured (taking care not to clamp it down at any delicate points) you are ready to begin conservation. (Note: the purpose of this exercise is to insure that the blade is supported fully over its surface, i.e., it is completely flat on the work surface. This means that many hilts such as basket hilts will need to hang over the table or work surface edge.)

If no active rust exists, you’re almost out of the woods! Simply apply a petroleum distillate cleaner/lubricant/preservative (henceforth referred to as "CLP") to the blade with a cotton shop rag. Allow the CLP to penetrate and repeat as needed.

Inactive rust is generally better left alone. Since it is firmly bonded with the steel, the only way to remove it would be to grind it off (not an option). Apply a coating of CLP and allow it to penetrate for several hours and repeat as needed.

If active rust exists, you will need to assess the degree of affect. The more established rust will require more effort to remove it but always think in terms of minimizing the risk of potential damage that may occur as a result of your exertions. For the removal of active rust, it is recommended to use a medium that is softer than the surface steel. Steel wool can be used but in order to avoid damaging the surface, softer-than-steel alternatives should be considered. Bronze wool is a good choice, as is a bronze (or brass) bristle all-purpose brush. Areas of the blade bearing embellishments should be approached with the utmost caution and under these conditions always use softer-than-steel mediums for rust removal. Discretion being the better part of valor, the only justification for using steel wool (and nothing rougher than 000 grade at that) would be on a blade with no embellishments at all.

Coat the affected areas liberally with CLP. For well-established rust, or in cases where rust is affecting the entire blade surface, you may opt to allow at least several hours of soaking time to allow the CLP to penetrate. Apply the medium by hand and work in a circular motion, adjust the pressure you are applying accordingly. The aim is to apply just enough pressure to cut the rust. Concentrate your efforts on 3 or 4-inch sections of rusted area at a time. As you work the medium, you will be able to feel the resistance of the rust’s rough texture under your fingers. As the rust is removed, the resistance lessens and the area will become noticeably smoother. Work the area for short periods of time (for perhaps 30 seconds or so), then stop and wipe the area clean. Visually inspect your progress and closely examine the area to insure that you are not doing any damage. Then repeat the process again starting with the first CLP step. This process may require several repetitions until the desired results are reached. A dental pick can be used for removing rust from recessed or engraved areas as long as care is taken to avoid scoring the surface of the steel. In instances where the potential exists for disturbing the hard patina underneath the rust, a pick made from the sharpened tip of antler is advisable. The Japanese use a tool of this nature to pry scaly rust off of iron tsuba (guards).

Once the harmful elements have been dealt with there are a few options to choose from. A light polish with a non-abrasive metal polish (Flitz or similar) may be in order (again, the object is not to attack the blade with metal polish, it is simply to carry the blade stabilization to the next stage) or simply treat the blade with a protective coating of CLP or apply a wax barrier. The latter treatment is the better option of the two due to its performance characteristics in dealing with the hidden enemy: dust. While a sword is being displayed, dust will inevitably begin to accumulate on it. As it settles, the dust will attract moisture and the moisture will be transmitted directly to the blade (and other) surfaces. A film of petroleum-based preservative will eventually break down under these conditions. Once it does oxidation will begin. In order to avoid this, a barrier impervious to dust and which resists moisture is necessary. A good conservator’s wax will do the trick.

Since some petroleum-based solvents contain additives that can have a deteriorating effect, use caution while using these preservatives in proximity to wood, leather, fish skin or other similarly organic material.

HILT TREATMENTS

Guards/Pommels - The hilt is comprised of several different sections. The guard is the portion of the hilt that is designed to protect the swordsman’s hand from opposing blades. The pommel is generally the termination of the hilt. Some pommels are separate components and some are merely extensions of the grip. Guards and pommels are found in a wide variety of materials, iron, steel and brass being the most common.
Grips - Grips are encountered in a variety of types. Wood, silver, brass, steel, and horn are all common grip materials. Wire wrapped leather and wire wrapped fish skin coverings over a wooden grip are the most common types.
Enameling - Enamel is essentially glass. Enameling is achieved by introducing powdered silicates into recessed design areas, which are then heated to molten state resulting in glass formation. Enamel is found on guards and pommels and both the cloisonné and the champlevé techniques were used.

See also Blade Treatments - Plating and Inlay

HILT PROBLEMS

While the blade is more or less protected by the scabbard, the hilt section remains the area of the sword that is most exposed to the elements in addition to being the point of interface for the sword’s users. As a result, this area of the sword is more highly susceptible to the effects of aging and exposure.

Guards tend to be fairly sturdy and most of the time the only attention needed is a good stabilization. Steel guards are subject to the same affects that occur to blades. Although not susceptible to rust, brass is vulnerable to other environmental affects. Patination (carbonate of copper) occurs and colors the brass in varying shades of brown. Verdigris, a natural chemical reaction of copper acetates (blue verdigris, Cu(CH₃COO)₂·CuO·6H₂O; green verdigris, 2Cu(CH₃COO)₂·CuO·6H₂O; neutral verdigris, Cu(CH₃COO)₂·H₂O) is produced by exposing the metal to the elements or burial. It manifests as a green to blue-green coating and the texture can be powdery, greasy or waxy.

Since grip coverings are largely organic in nature, this is an area where much degradation occurs. As they are exposed to extremes in temperature and humidity (or lack of humidity) leather coverings will tend to dry rot, shrink and crack. Fish skin is less affected by time, but it is far less able to withstanding impact or abrasion. Severe damage or loss of material in this area almost always necessitates restoration.

HILT CONSERVATION TIPS

For steel guards the same conservation techniques you apply to the blade are appropriate. In the case of soft metal guards, the thing to remember here is that you do not want to remove patina from the surface. Some collectors opt to polish guards bright, but from a conservation point of view this is not recommended. The simple approach of stabilizing the guard is the best option. Do not use metallic wools or abrasive chemicals or cleaners of any kind. Regular household ammonia or acetone will work well as stabilizers since they evaporate quickly and are water-soluble, so a mild solution can be produced in the event you are working in close proximity to fine embellishments. A good basic is a 60/40-ammonia/water solution. Stronger solutions can be used, but should not be allowed to soak any one area for inordinate lengths of time. Do not use ammonia or acetone on silver hilts. If enamel work is present, it may be necessary to stabilize the surrounding metal before conservation efforts can be undertaken. For cleaning enamel, a basic preparation of hot, soapy water works well. Using a nylon all-purpose brush, simply brush the enameled areas clean. Try to keep the brush somewhat dry, so as to limit the chances of soapy water running everywhere. While working on the hilt, take steps to protect the grip, pommel and ricasso areas from any exposure to cleaning materials. If exposed to cleaning solutions or moisture, leather and fish skin may become damaged. Internal damage may occur if cleaning solutions or moisture is allowed to penetrate into the tang areas by running down through the hole in the guard.

Due to the delicate nature of enamel it is often found damaged. In the event of enamel damage, full restorations are possible but they are always time consuming and costly. In addition, only a small handful of enamellists in the world have the expertise to affect such restorations. "Cold" restorations, or those utilizing poly-epoxy based material processes rather than heating silicates are faster and less expensive but the finished product is often less than satisfactory from an esthetic standpoint.

In addition, guard elements are sometimes found damaged or bent. Steel can be re-bent but this is a process better left to a professional conservator or restorer. In addition, do not attempt to re-bend brass. The copper to zinc ratio is an unknown factor so it is hard to determine just how malleable the piece is. Re-bending the piece then becomes a 50/50 proposition. If the piece is not malleable, then the brass might fracture or break. The best approach in this case would be to live with the bend.

Once the guard area has been treated, you can now move on to the grip. It is not uncommon to find sword grips with only a portion of the leather or fish skin coverings remaining. If severe degradation is evident, restoration may be in order. If this is not an option, the only thing left to do is to treat the areas with preservative. With leather, use a Q-Tip or soft bristle brush to apply a coating of leather preservative (Pecard’s or similar). For very dry leather, allow the coating to penetrate and repeat. Several applications may be necessary, particularly in the case of very dry leather. For fish skin, good results can be achieved with a variety of treatments. Believe it or not, light olive oil works quite well. Its inert organic nature is an advantage since it imports none of the chemical trace elements that may be found in petroleum distillates. Dip a nylon all-purpose brush in the oil. Then wipe most of the oil away from it (in this case you are going for an almost dry brush). Brush the areas and repeat as needed.

SCABBARDS

Swords are often found with their accompanying scabbards. The scabbard acts as the protective covering for the sword, both protecting the sword from the elements while protecting us from the pointy end of the sword. They can be made of leather, leather covered wood, lacquered wood, iron or steel. Scabbards will also be found with various bits of metal hardware attached to them (drags, chapes, loose rings, throats, collars, etc.). These scabbard fittings can be brass, steel, bronze, bi-metal, etc.

SCABBARD PROBLEMS

The same problems that we encounter with swords can affect their scabbards (see details on steel in the Blade section and leather in the Hilt section) - even more so when you consider the scabbard is the *cover* for the sword blade and is directly exposed to the outside world.

SCABBARD CONSERVATION TIPS

Refer to the tips for leather in the hilt section. Moisture may be reintroduce into dry leather by using leather preservative. With leather preservatives, the rule is this: if you can pour it, avoid it. Creams are the best bet. The jury is still out on saddle soap but smart money would avoid it. Mink oil works well but Pecard’s Leather Dressing is really the top choice for leather treatment. With steel scabbards, follow the same processes as with blades.

TOOLS CHECKLIST

Bronze Wool	Rust removal / can be cleaned, dried and reused multiple times.
Brass Wire Brush	Rust removal / brass bristle brushes come in a variety of sizes and widths.
Nylon Bristle Brush	Multiple uses - cleaning, material application, etc. / nylon is "metal-friendly".
Petroleum Distillate Lubricant / Cleaner (CLP)	Preparation, cleaner, lubricant and preservative. Break Free, Hoppes, Remington* all make good products
Dental Picks & Antler Picks	Rust removal from recessed area, engraving lines, etc. / excellent for getting into areas that are inaccessible to a brush (Note: dental tools can cause great damage when used incorrectly)
Table Clamp or Vise (modified)	Securing swords to work surface.
Alligator Clips (with rubber-padded jaws)	Securing swords to work surface
Mild Soap	Cleaner for special guard treatments: Enamel, fine inlay, niello, etc.
Acetone / Ammonia	Brass, copper, bronze stabilizer / widely available, water-soluble, when used correctly won’t break down patina.
Cotton Shop Rags	Multiple uses, use to apply CLP, leather preservative, wax, etc. / can be washed and reused.
Lighted Loupe	Close work / brings out details and really saves your eyes.
Non-Abrasive Metal Polish	As the name implies. Flitz* or similar is recommended.
Leather Preservative	As the name implies / Pecard’s* Leather Dressing is recommended
Conservator's Wax	Long-term blade preparation. Renaissance Wax* is recommended

* Neither the author nor SFI are under any obligation to endorse any of the above captioned products. The specific product names are mentioned because they have been found to be superior through years of systematic experimentation.

NOTES

1. Japanese swords: Be very careful when attempting any work on Japanese swords. They are a science unto themselves and more harm than good may result from your well-intentioned efforts at conservation. Consult an expert before attempting any conservation.

2. Do not attempt any restoration work on you own. If you are unsure of what you are dealing with, seek the opinion of a museum professional, conservator or a knowledgeable collector or dealer for feedback.

3. Do not attempt to straighten, sharpen, grind (and/or use any power tools), sand or apply harsh chemicals to any area of the sword.

4. Always wear eye protection while working with any tools and a simple dust mask is a good idea as well. A bright, well-ventilated work area is highly recommended.

5. Verdigris is poisonous. Take care not to eat while you are in contact with it and avoid exposing open wounds to it.

6. Do not eat while doing any conservation work on swords. Food particles can carry oils and other contaminants to the surfaces you are working on.

7. Cotton shop rags can be washed and re-used. If you buy in bulk, this is cost saving and environmentally friendly. Do yourself a favor and wash them at the local Laundromat (if your wife catches you washing dirty, rusty, oily rags in your home washing machine, the author is not responsible for what happens to you).

8. Swords can be sharp! Exercise common sense and due caution while handling and working with swords.

9. Take steps to insure that you are not to returning a sword into a potentially contaminated scabbard. Who knows what kind of debris has been introduced into the scabbard over the years? Also keep in mind that steel scabbards are susceptible to rusting. This is particularly true with the internal areas of the scabbard, such as the retention springs (which are themselves steel and come in direct contact with the blade). With leather scabbards, note that leather is cured and processed with substances such as lime, animal fats, oils, salts, tannin, chrome, alum and other compounds that all add up to recipe for nastiness. These elements will attack the steel if given the opportunity so it is best not to store or display a sword in a leather scabbard.

ACKNOWLEDGEMENTS

Special thanks to curatorial staff at the Higgins Armory Museum, Worcester, Massachusetts: Walter Karcheski, Senior Curator of Arms & Armor, Jeffrey Forgeng, Paul S. Morgan Curator. Additional thanks to Dr. Martin A. Joyce, Adrian Ko, Alex Chin, Rob Miller and Phil Tom.

Featured antique sword in title graphic photo courtesy of LionGate Arms & Armour

ABOUT THE AUTHOR

Mark McMorrow is Executive Editor of Sword Forum International and heads SFI's Antique & Military Sword Institute - a division of SFI dedicated to the conservation and preservation of antique swords as well as their education and appreciation of their history and culture. He has spent the past 25 years studying antique and military swords, edged weapons and pole arms, and has been a practicing antique sword conservator for the past 15 years. He is a Member of the Company of Military Historians and an Associate Member of the American Institute for the Conservation of Historic and Artistic Works (AIC).

Scroll to TOP